“I’ve always juggled a lot of projects because at least half the projects you do get shelved.”

Everything else is relative levels of hell.

The best parts about writing a show are [its] first, second and 10th anniversaries.

If you write enough musicals you pretty much have a sense of where they should go.

Having a tradition is a great thing to work within, and maybe today [it] is the only way to really land musically dramatic work.

And all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.

And, it’s also about spurring each other on to doing really great, hard work.

So you have to do a lot of things in order for things to move forward.

So there are more songs on the stage because the songs are kind of the close up.

Whether it’s animated, whether it’s live-action, whether it’s Broadway, whether it’s television, a musical is a musical is a musical.

I don’t write songs for myself anymore. I only write songs on assignment.

What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg.

It’s purely a business, but it is still so important to me emotionally.

So, pretty much you approach the songs in pretty much the same way.

Collaboration is being open to each other’s ideas and benefiting from each other’s perspectives in an open way.

Collaboration is all about rewriting and rewriting and rewriting and helping each other to constantly improve a piece.

What you’ll need, and when; how to pull people on that journey.

To have the Raiders global, and we’re not going to be able to do that with a half-filled stadium.

I spent 24 and a half years in prison

For me, being onstage for an hour and a half, my confidence was really huge for me. Doing eight shows a week for a run.

Sensuality, too, which used to show itself course, smiling, unmasked, and unmistakable, is now serious, analytic, and so burdened with a sense of its responsibilities that it passes muster half the time as a new type of asceticism.

My dad told me, ‘It takes fifteen years to be an overnight success’, and it took me seventeen and a half years.

The energy of live theater is indescribable. You are just in the moment for an hour and a half.

And when the other half get the idea it does no good to work because somebody’s going to get what I work for. That, dear friend, is about the end of any nation.

Finally, you will find that there is no half-measure when it comes to loving someone.